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Igor Stravinsky - Babel (1944) [with score]
Babel - cantata for reciter, male chorus & orchestra
Written by Igor Stravinsky in 1944
Thanks to Thomas Van Dun for the preparation of this score video. https://www.youtube.com/c/ThomasvanDun/
Performed by John Calicos (recitor), Festival Singers of Toronto (conducted by Elmer Iseler) and the CBC Symphony Orchestra, conducted by Igor Stravinsky
Edition Schott ©
'Babel, Igor Stravinsky's cantata based on texts from Genesis 11:1-9, was composed in Hollywood in winter and spring of 1944. The original idea was not Stravinsky's, but that of the music publisher and composer Nathaniel Shilkret. Shilkret conceived the idea of a collective composition setting the opening chapters of the book of Genesis and commissioned various composer to provide the music. The Prelude, for example, was assign...
published: 20 May 2021
Lynne Rogers - Allusion as metonymy in Stravinsky's later serial music
Lynne Rogers (William Paterson University) - Allusion as metonymy in Stravinsky's later serial music
published: 06 Feb 2014
5:20
Igor Stravinsky - Babel (1944) [with score]
Babel - cantata for reciter, male chorus & orchestra
Written by Igor Stravinsky in 1944
Thanks to Thomas Van Dun for the preparation of this score video. https...
Babel - cantata for reciter, male chorus & orchestra
Written by Igor Stravinsky in 1944
Thanks to Thomas Van Dun for the preparation of this score video. https://www.youtube.com/c/ThomasvanDun/
Performed by John Calicos (recitor), Festival Singers of Toronto (conducted by Elmer Iseler) and the CBC Symphony Orchestra, conducted by Igor Stravinsky
Edition Schott ©
'Babel, Igor Stravinsky's cantata based on texts from Genesis 11:1-9, was composed in Hollywood in winter and spring of 1944. The original idea was not Stravinsky's, but that of the music publisher and composer Nathaniel Shilkret. Shilkret conceived the idea of a collective composition setting the opening chapters of the book of Genesis and commissioned various composer to provide the music. The Prelude, for example, was assigned to Schoenberg, the Flood to Castelnuovo-Tedesco, Cain and Abel to Darius Milhaud, with Shilkret composing Creation. Babel was premiered on November 18, 1945, in Los Angeles as part of the entire cycle. Shilkret had wanted Stravinsky's contribution to be a dramatic and essentially literal depiction of the events described in the text. As a strict orthodox Christian, Stravinsky was completely opposed to this idea and refused to cooperate unless he were allowed to compose Babel as he see fit. In the end, Stravinsky prevailed and his setting of the texts is abstract and nearly devoid of depiction. Setting the texts for male narrator, male chorus, and orchestra, Stravinsky's cantata is in the form of a passacaglia divided into four large sections. The opening section is a tranquil Largo with the narrator speaking the words of the first five verses above the ground bass in the strings and low winds and accompanied by an oboe obbligato and by three flutes and a trumpet in four-part harmony. The chorus enters over a heavy orchestral accompaniment in the second section to pronounce the words of God; Stravinsky was adverse to a single human voice speaking the words of God and his alternative was to have the more "ideal" chorus take his part. The tempo increases to Con moto for the third section which starts with the narrator's "So the Lord scattered them abroad from thence upon the face of the earth," which gives way to a fast and furious orchestral fugue for the brass. The fourth and closing section is a coda which returns the music to the tranquil mood of the opening. Babel is the central work of Stravinsky's religious music. The earlier Symphony of Psalms (1930) was far closer to the choral-orchestral magnum opus tradition of Beethoven's Ninth or Mahler's Eighth symphony than to the austere religious music of Stravinsky's final period. But Babel's abstraction, concentration, and severity leads inevitably to later religious works like Threni (1957 - 1958) and The Flood (1961 - 1962).' - James Leonard
https://wn.com/Igor_Stravinsky_Babel_(1944)_With_Score
Babel - cantata for reciter, male chorus & orchestra
Written by Igor Stravinsky in 1944
Thanks to Thomas Van Dun for the preparation of this score video. https://www.youtube.com/c/ThomasvanDun/
Performed by John Calicos (recitor), Festival Singers of Toronto (conducted by Elmer Iseler) and the CBC Symphony Orchestra, conducted by Igor Stravinsky
Edition Schott ©
'Babel, Igor Stravinsky's cantata based on texts from Genesis 11:1-9, was composed in Hollywood in winter and spring of 1944. The original idea was not Stravinsky's, but that of the music publisher and composer Nathaniel Shilkret. Shilkret conceived the idea of a collective composition setting the opening chapters of the book of Genesis and commissioned various composer to provide the music. The Prelude, for example, was assigned to Schoenberg, the Flood to Castelnuovo-Tedesco, Cain and Abel to Darius Milhaud, with Shilkret composing Creation. Babel was premiered on November 18, 1945, in Los Angeles as part of the entire cycle. Shilkret had wanted Stravinsky's contribution to be a dramatic and essentially literal depiction of the events described in the text. As a strict orthodox Christian, Stravinsky was completely opposed to this idea and refused to cooperate unless he were allowed to compose Babel as he see fit. In the end, Stravinsky prevailed and his setting of the texts is abstract and nearly devoid of depiction. Setting the texts for male narrator, male chorus, and orchestra, Stravinsky's cantata is in the form of a passacaglia divided into four large sections. The opening section is a tranquil Largo with the narrator speaking the words of the first five verses above the ground bass in the strings and low winds and accompanied by an oboe obbligato and by three flutes and a trumpet in four-part harmony. The chorus enters over a heavy orchestral accompaniment in the second section to pronounce the words of God; Stravinsky was adverse to a single human voice speaking the words of God and his alternative was to have the more "ideal" chorus take his part. The tempo increases to Con moto for the third section which starts with the narrator's "So the Lord scattered them abroad from thence upon the face of the earth," which gives way to a fast and furious orchestral fugue for the brass. The fourth and closing section is a coda which returns the music to the tranquil mood of the opening. Babel is the central work of Stravinsky's religious music. The earlier Symphony of Psalms (1930) was far closer to the choral-orchestral magnum opus tradition of Beethoven's Ninth or Mahler's Eighth symphony than to the austere religious music of Stravinsky's final period. But Babel's abstraction, concentration, and severity leads inevitably to later religious works like Threni (1957 - 1958) and The Flood (1961 - 1962).' - James Leonard
published: 20 May 2021
views: 4370
30:19
Lynne Rogers - Allusion as metonymy in Stravinsky's later serial music
Lynne Rogers (William Paterson University) - Allusion as metonymy in Stravinsky's later serial music
Lynne Rogers (William Paterson University) - Allusion as metonymy in Stravinsky's later serial music
https://wn.com/Lynne_Rogers_Allusion_As_Metonymy_In_Stravinsky's_Later_Serial_Music
Lynne Rogers (William Paterson University) - Allusion as metonymy in Stravinsky's later serial music
published: 06 Feb 2014
views: 337
5:20
Igor Stravinsky - Babel (1944) [with score]
Babel - cantata for reciter, male chorus & orchestra
Written by Igor Stravinsky in 1944
T...
Play in Full Screen
Igor Stravinsky - Babel (1944) [with score]
Igor Stravinsky - Babel (1944) [with score]
Babel - cantata for reciter, male chorus & orchestra
Written by Igor Stravinsky in 1944
Thanks to Thomas Van Dun for the preparation of this score video. https://www.youtube.com/c/ThomasvanDun/
Performed by John Calicos (recitor), Festival Singers of Toronto (conducted by Elmer Iseler) and the CBC Symphony Orchestra, conducted by Igor Stravinsky
Edition Schott ©
'Babel, Igor Stravinsky's cantata based on texts from Genesis 11:1-9, was composed in Hollywood in winter and spring of 1944. The original idea was not Stravinsky's, but that of the music publisher and composer Nathaniel Shilkret. Shilkret conceived the idea of a collective composition setting the opening chapters of the book of Genesis and commissioned various composer to provide the music. The Prelude, for example, was assigned to Schoenberg, the Flood to Castelnuovo-Tedesco, Cain and Abel to Darius Milhaud, with Shilkret composing Creation. Babel was premiered on November 18, 1945, in Los Angeles as part of the entire cycle. Shilkret had wanted Stravinsky's contribution to be a dramatic and essentially literal depiction of the events described in the text. As a strict orthodox Christian, Stravinsky was completely opposed to this idea and refused to cooperate unless he were allowed to compose Babel as he see fit. In the end, Stravinsky prevailed and his setting of the texts is abstract and nearly devoid of depiction. Setting the texts for male narrator, male chorus, and orchestra, Stravinsky's cantata is in the form of a passacaglia divided into four large sections. The opening section is a tranquil Largo with the narrator speaking the words of the first five verses above the ground bass in the strings and low winds and accompanied by an oboe obbligato and by three flutes and a trumpet in four-part harmony. The chorus enters over a heavy orchestral accompaniment in the second section to pronounce the words of God; Stravinsky was adverse to a single human voice speaking the words of God and his alternative was to have the more "ideal" chorus take his part. The tempo increases to Con moto for the third section which starts with the narrator's "So the Lord scattered them abroad from thence upon the face of the earth," which gives way to a fast and furious orchestral fugue for the brass. The fourth and closing section is a coda which returns the music to the tranquil mood of the opening. Babel is the central work of Stravinsky's religious music. The earlier Symphony of Psalms (1930) was far closer to the choral-orchestral magnum opus tradition of Beethoven's Ninth or Mahler's Eighth symphony than to the austere religious music of Stravinsky's final period. But Babel's abstraction, concentration, and severity leads inevitably to later religious works like Threni (1957 - 1958) and The Flood (1961 - 1962).' - James Leonard
30:19
Lynne Rogers - Allusion as metonymy in Stravinsky's later serial music
Lynne Rogers (William Paterson University) - Allusion as metonymy in Stravinsky's later ...
Play in Full Screen
Lynne Rogers - Allusion as metonymy in Stravinsky's later serial music
Lynne Rogers - Allusion as metonymy in Stravinsky's later serial music
Lynne Rogers (William Paterson University) - Allusion as metonymy in Stravinsky's later serial music
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Igor Stravinsky - Babel (1944) [with score]...
Lynne Rogers - Allusion as metonymy in Stravinsky...